Final Shotlist

Day	Time	Setup	Scene	Shot	Description	Actors	Length	Location	Other
19.02.14		15	1	1	Hallway track back.	-	6	Stradbrook	Dolly + Dedo's
19.02.14		15	1	2	Hallway track back.	-	6	Stradbrook	Dolly + Dedo's
19.02.14		15	1	3	Kitchen Track back.	-	6	Stradbrook	Dolly + Dedo's
22.02.14		15	2	1	Track back on path as N goes into driveway, pan to follow.	N	8	G's house.	Make sure to leave long enough for a cut before the pan	Dedos?
22.02.14		10	2	2	OSS Nath grabbing letterbox. Focus on letterbox. Open door.	N+G	5	G's house.	Quite at an angle to N 1/2 oss 1/2 profile(or staring at paper.	Dedos?
22.02.14		10	2	3	CU Nath's reaction Frontality.	N	5	G's house.		Dedos?
22.02.14		5	2	4	CU Nath's reaction from G's POV.	N	5	G's house.		Dedos?
22.02.14		5	2	5	Nath's POV of G.	G	4	G's house.	Stand up movment?	Dedos?
22.02.14		10	2	6	MS 2shot from behind N.	N+G	12	G's house.	Behind to an angle, make sure to have it open, inclusive	Dedos?
22.02.14		10	2	7	MS 2 shot from behind G.	N+G	12	G's house.	Behind to an angle, make sure to have it open, inclusive	Dedos?
22.02.14		5	2	8	ECU cheek kiss. Angle 45* from back of head.	N+G	4	G's house.		Dedos?
22.02.14		15	2	9	Track back from behind N at kiss. CU to ML.	N+G	8	G's house.	RIGGING!! For the track going backwards	Dedos?
22.02.14		10	7	1	ELS N sat on bench	N	5	Park.
22.02.14		7	7	2	MCU N sips apple juice like whisky	N	4	Park.
22.02.14		7	7	3	Profile of N sipping juice. OOF in the BQ Pete approaches.	N+P	6	Park.
22.02.14		10	7	4	MLS 2shot from behind.	N+P	90	Park.
22.02.14		15	7	5	MCU of N. Full scene.	N	150	Park.
22.02.14		15	7	6	MCU of P. Full scene.	P	150	Park.
22.02.14		15	7	7	CU of N.	N	150	Park.
22.02.14		15	7	8	CU of P.	P	150	Park.
22.02.14		5	7	9	CU2 shot (Specifically for the electrical faults dialogue)	N+P	7	Park.
22.02.14		10	7	10	MLS 2Shot.	N+P	90	Park.
22.02.14		5	7	11	Low angle version of Pete's CU.	P	8	Park.
22.02.14		10	7	12	Slow track in on Pete as he delivers his monologue.	P	15	Park.
22.02.14		10	7	13	Profile of N, Pete leans out as he spots G.	N+P	5	Park.	Rack focus to Pete.
22.02.14		10	7	14	P's pov. N turns in side of shot to see G.	N+G	5	Park.
22.02.14		15	7	15	MLS 3 shot from behind	N+P+G	60	Park.
22.02.14		10	7	16	High angle POV looking down at P and N.	N+P	45	Park.
22.02.14		5	7	17	Shot from infront of N P and G looking at the "views".	N+P+G	7	Park.
22.02.14		10	7	18	ELS of G then P then N leaving awkwardly.	N+P+G	20	Park.
22.02.14		10	7	19	LS of G running past cam from opp side of path.	N+P+G	8	Park.
22.02.14		15	14	2	N's POV G waving across the street.	G	4	Stradbrook
23.02.14		20	3	1	Run whole scene from 1 shot opp the door.	N.M.	20		Dedo's for shop.
23.02.14		15	5	10	N pops back into shot framing G between the boys heads.	N+J+G	10	STRADBROOK	Expose so that it looks the same as rest of scene
23.02.14		20	6	1	Close up of N in shop looking at sweets. J+M oof in bg.	N+J+M	20	Shop.
23.02.14		20	6	2	N framed between M+J gets closer to cam as speaking.	N+J+M	45	Shop.	WIDE ANGLE LENS
23.02.14		15	11	1	MS. Door opens and light shines on M. Then goes.	M	15	Shop
23.02.14		15	11	2	MS track forward on N to CU.	N	5	Shop
23.02.14		15	13	1	Low angle shot. N in FG, J and M in the BG	N+J+M	6	Shop	Wide lens
23.02.14		10	13	2	N's POV of M	M	4	Shop
23.02.14		15	13	3	J ruffleing N's hair. Door is framed through his arm as opens.	N+J+P	5	Shop
23.02.14		15	13	4	MCU of Pete entering. Mrs B behind him.	P+MrsB	6	Shop
23.02.14		10	13	5	CU M reaction.	M	4	Shop
23.02.14		15	13	6	P and MrsB moving across shop.	N+J+M+B	7	Shop	Track from other side of shop if space, if not more POV.
23.02.14		20	13	7	MS 5shot. Light shines upon everyone.	NJMBG	5	Shop	Then dims slightly, not completely.
23.02.14		10	13	8	MCU beauty shot of G.	G	5	Shop	Beauty lighting.
23.02.14		15	13	9	MS of M as he talks and escapes his customers.	M+MrsB+P	4	Shop
23.02.14		10	13	10	ML. M mrsB and P walk down isle past cam.	M MrsB+P	5	Shop
23.02.14		10	13	11	ML of G as she walks to the left of N.	N+G+J	4	Shop
23.02.14		15	13	12	N's Pov of G. Low angle.	G	5	Shop
23.02.14		15	13	13	Close up of N embarrased.	N	4	Shop
23.02.14		15	13	14	Similar to shot 3 but with N blocking door J in BG.	N+G+J	8	Shop	N moves and we see J leave. G helps N up.
24.02.14		15	4	1	Track back as N walks towards cam J runs past and hits him.	N+J	8	Whirlow.	Track or steadycam
24.02.14		15	4	2	PROFILE version of SC4SH1.	N+J	8	Whirlow.	Track or steadycam
24.02.14		10	4	3	CU walking then Running feet. Low still. Feet run past cam.	N+J	8	Whirlow.	Tripod
24.02.14		5	4	4	CU jakes hits N on head. From behind N opp J 45*.	N+J	4	Whirlow.	Steadycam
24.02.14		10	4	5	OSS N's shoulder as he watches J leave.	N+J	6	Whirlow.	Tripod
24.02.14		15	5	1	J+N sit opp sides of bus stop extreme sides of frame. Long.	N+J	20	Bus stop.
24.02.14		15	5	2	Frontality CU N.	N	20	Bus stop.	N turns side on "But its mine"
24.02.14		15	5	3	Frontality CU J.	J	20	Bus stop.
24.02.14		15	5	4	MF MCU N.	N	15	Bus stop.
24.02.14		10	5	5	MF MCU J.	J	15	Bus stop.
24.02.14		15	5	6	Profile 2 shot J grabbing N. Pulled out version of SH2.	N+J	10	Bus stop.	Run till J drops N out of shot.
24.02.14		5	5	7	ECU N grabbed.	N	8	Bus stop.
24.02.14		5	5	8	ECU J during grab.	J	8	Bus stop.
24.02.14		10	5	9	CU of n on ground getting up. Frame through J's legs.	N+J	4	Bus stop.
24.02.14		10	8	1	Profile shot of N looking out window.	N.	5	N's House.
24.02.14		5	8	2	POV.	N.	7	N's House.
24.02.14		10	9	1	Profile shot of N looking out winow, like 8.1	N	7	N's House.
24.02.14		5	9	2	POV. Sees J	J	9	N's House.
24.02.14		5	9	3	ECU POV of watch	N	4	N's House.
24.02.14		5	9	4	ECU of eyes and head dropping. Frontality. "its not over yet"	N	6	N's House.
24.02.14		10	10	1	Layed down Paper lifting.Wide. Fails to lift. Shot from feet.	N	6	N's Room
24.02.14		10	10	2	Montage Stairs. Low shot. N's head pops above the step.	N	6	N's Stairs
24.02.14		10	10	3	Montage. Paper lifting.ML. Fails a little less.	N	5	N's Room
24.02.14		10	10	4	Montage Stairs wider, track or pan up as he reaches top.	N	5	N's Stairs
24.02.14		10	10	5	Montage. Paper lifting. Succeeds and sits up into MCU.	N	6	N's Room
24.02.14		10	10	6	Montage Stairs track or pan as he reaches top triumphantly.	N	6	N's Stairs
25.02.14		10	12	1	ML N exits shop and runs towards the cam.	N	4	Shop EXT
25.02.14		10	12	2	Wide. N runs through shot.	N	5	Whirlow
25.02.14		10	12	3	Wide. N runs through shot.	N	5	Whirlow
25.02.14		10	12	4	Wide. N runs through shot.	N	5	Whirlow
25.02.14		5	12	5	CU forhead wipe.	N	4	Whirlow
25.02.14		15	12	6	Track back as N runs towards camera.	N	6	Whirlow
25.02.14		15	12	7	Paper in Door. Long.	N	4	Whirlow	Track across to letterbox.
25.02.14		10	12	8	Paper in Door. Medium	N	4	Whirlow	Track across to letterbox.
25.02.14		10	12	9	Paper in Door. Close	N	4	Whirlow	Track across to letterbox.
25.02.14		10	12	10	ECU of dog.	DOG	4	-	Track across like shot 7 but to dog not letterbox.
25.02.14		15	12	11	Dog POV through Wide location in sh2	N	4	Whirlow	GO PRO
25.02.14		15	12	12	Dog POV through Wide location in sh3	N	4	Whirlow	GO PRO
25.02.14		15	12	13	Dog POV through Wide location in sh4	N	4	Whirlow	GO PRO
25.02.14		10	12	14	ML N exits shop and runs away from the cam. (SH1)	N	4	Shop EXT
25.02.14		15	14	1	N walking towards cam at 30* of him. ML-M	N	5	Stradbrook
25.02.14		10	14	3	CU of N smiling back.	N	4	Stradbrook
25.02.14		10	14	4	POV from dog looking at N.	N	4	Stradbrook

Bamford Reccie

The front of Alex's house. We plan on using the interior for Nathan's house and the exterior for Georgia's house.

The is the back garden exterior we will use for Georgia's house. At the moment we are not sure if we will be able to shoot in the doorway or not due to Alex's family so I am thinking of two versions of the shot list, one where she collects milk and meet Nathan at the gate and the other exact to script.

 Some street locations, potential areas for delivery montage.

 The thin gap through the trees is great visually, the perspective really draws you into the shot. Narratively it also makes you think that Nathan knows all the short cuts. I definitely want to shoot this location on the montage.

 The main park bench at the park we are shooting at. It isn't ideal because of the board behind it which restricts the angles for shooting. I really wanted to get a three shot on the bench using some nice central framing so we decided not to use this bench.

 This one will work much better and is a more classic picnic bench. It has a less interesting view but it is enough for the scene as Georgia will be the main subject when looking away from the bench/

 I like this sign, it captures the quaint little village feeling immediately and would love to get a few similar shots for cutaways.

 Less attractive main road, probably wont use.

 Bus stop for the bus stop scene however its next to a main road so would be too loud for sound.

 Nice circular area could work well for a running back and forth shot during the montage.

 The shop we are shooting in, it is different to the one we had planned on shooting in when I wrote the shotlist but Alex doesn't want to change the shots so I'm just sort of spatially reworking them to make sense in my own head.

 The reccie went well despite Alex not being their for the majority to show us around. We got a sense of the character of the place and I really like it, hopefully we can capture its charm. There are a few its of the shotlist and script that need slightly more specific locations (such as the track across' on doorways) and we are hoping that Alex can pin down some locals who don't mind us filming in their gardens.

Second meeting with Annie. Location changes.

First draft shotlist.

Shot	Description	Actors	Length	Location	Other	Scene Length (s)
1	Hallway track back.	-	6	Stradbrook	Dolly + Dedo's
2	Hallway track back.	-	6	Stradbrook	Dolly + Dedo's
3	Kitchen Track back.	-	6	Stradbrook	Dolly + Dedo's
						18
1	Track back on path as N goes into driveway, pan to follow.	N	8	G's house.	Make sure to leave long enough for a cut before the pan	Dedos?
2	OSS Nath grabbing letterbox. Focus on letterbox. Open door.	N+G	5	G's house.	Quite at an angle to N 1/2 oss 1/2 profile	Dedos?
3	CU Nath's reaction Frontality.	N	5	G's house.		Dedos?
4	CU Nath's reaction from G's POV.	N	5	G's house.		Dedos?
5	Nath's POV of G.	G	4	G's house.	Stand up movment?	Dedos?
6	MS 2shot from behind N.	N+G	12	G's house.	Behind to an angle, make sure to have it open, inclusive	Dedos?
7	MS 2 shot from behind G.	N+G	12	G's house.	Behind to an angle, make sure to have it open, inclusive	Dedos?
8	ECU cheek kiss. Angle 45* from back of head.	N+G	4	G's house.		Dedos?
9	Track back from behind N at kiss. CU to ML.	N+G	8	G's house.	RIGGING!! For the track going backwards	Dedos?
						63
1	Run whole scene from 1 shot opp the door.		20		Dedo's for shop.
						20
1	Track back as N walks towards cam J runs past and hits him.	N+J	8	Whirlow.	Track or steadycam
2	PROFILE version of SC4SH1.	N+J	8	Whirlow.	Track or steadycam
3	CU walking then Running feet. Low still. Feet run past cam.	N+J	8	Whirlow.	Tripod
4	CU jakes hits N on head. From behind N opp J 45*.	N+J	4	Whirlow.	Steadycam
5	OSS N's shoulder as he watches J leave.	N+J	6	Whirlow.	Tripod
						34
1	J+N sit opp sides of bus stop extremem sides of frame. Long.	N+J		Bus stop.
2	Frontality CU N.	N		Bus stop.	N turns side on "But its mine"
3	Frontality CU J.	J		Bus stop.
4	MF MCU N.	N		Bus stop.
5	MF MCU J.	J		Bus stop.
6	Profile 2 shot J grabbing N. Pulled out version of SH2.	N+J		Bus stop.	Run till J drops N out of shot.
7	ECU N grabbed.	N		Bus stop.
8	ECU J during grab.	J		Bus stop.
9	CU of n on ground getting up. Frame through J's legs.	N+J		Bus stop.
10	N pops back into shot framing G between the boys heads.	N+J+G		STRADBROOK	Expose so that it looks the same as rest of scene
1	Close up of N in shop looking at sweets. J+M oof in bg.	N+J+M		Shop.
2	N framed between M+J gets closer to cam as speaking.	N+J+M		Shop.	WIDE ANGLE LENS
1	ELS N sat on bench	N		Park.
2	MCU N sips apple juice like whisky	N		Park.
3	Profile of N sipping juice. OOF in the BQ Pete approaches.	N+P		Park.
4	MLS 2shot from behind.	N+P		Park.
5	MCU of N. Full scene.	P		Park.
6	MCU of P. Full scene.	N		Park.
7	CU of N.	P		Park.
8	CU of P.	P		Park.
9	CU2 shot (Specifically for the electrical faults dialogue)	N+P		Park.
10	MLS 2Shot.	N+P		Park.
11	Low angle version of Pete's CU.	P		Park.
12	Slow track in on Pete as he delivrs his monologue.	P		Park.
13	Profile of N, Pete leans out as he spots G.	N+P		Park.	Rack focus to Pete.
14	P's pov. N turns in side of shot to see G.	N+G		Park.
15	MLS 3 shot from behind	N+P+G		Park.
16	High angle POV looking down at P and N.	N+P		Park.
17	Shot from infront of N P and G looking at the "views".	N+P+G		Park.
18	ELS of G then P then N leaving awkwardly.	N+P+G		Park.
19	LS of G running past cam from opp side of path.	N+P+G		Park.
1	Profile shot of N looking out window.	N.		N's House.
2	POV.	N.		N's House.
1	Profile shot of N looking out winow, like 8.1	N		N's House.
2	POV. Sees J	J		N's House.
3	ECU POV of watch	N		N's House.
4	ECU of eyes and head dropping. Frontality. "its not over yet"	N		N's House.
1	Layed down Paper lifting.Wide. Fails to lift. Shot from feet.	N		N's Room
2	Montage Stairs. Low shot. N's head pops above the step.	N		N's Stairs
3	Montage. Paper lifting.ML. Fails a little less.	N		N's Room
4	Montage Stairs wider, track or pan up as he reaches top.	N		N's Stairs
5	Montage. Paper lifting. Succeeds and sits up into MCU.	N		N's Room
6	Montage Stairs track or pan as he reaches top triumphantly.	N		N's Stairs
1	MS. Door opens and light shines on M. Then goes.	M		Shop
2	MS track forward on N to CU.	N		Shop
1	ML N exits shop and runs towards the cam.	N		Shop EXT
2	Wide. N runs through shot.	N		Whirlow
3	Wide. N runs through shot.	N		Whirlow
4	Wide. N runs through shot.	N		Whirlow
5	CU forhead wipe.	N		Whirlow
6	Track back as N runs towards camera.	N		Whirlow
7	Paper in Door	N		Whirlow
8	Paper in Door	N		Whirlow
9	Paper in Door	N		Whirlow
10	ECU of dog.	DOG		-
11	Dog POV through Wie location in sh2	N		Whirlow
12	Dog POV through Wie location in sh3	N		Whirlow
13	Dog POV through Wie location in sh4	N		Whirlow
14	ML N exits shop and runs towards the cam. (SH1)	N		Shop EXT
1	Low angle shot. N in FG, J and M in the BG	N+J+M		Shop
2	N's POV of M	M		Shop
3	J ruffleing N's hair. Door is framed through his arm as opens.	N+J+P		Shop
4	MCU of pete entering. Mrs B behind him.	P+MrsB		Shop
5	CU M reaction.	M		Shop
6	P and MrsB moving across shop.	N+J+M+B		Shop	Track from other side of shop if space, if not more POV.
7	MS 5shot. Light shines upon everyone.	NJMBG		Shop	Then dims slightly, not completely.
8	MS of M as he talks and escapes his customers	M+MrsB+P		Shop
9	ML to past cam. M mrsB and P walk down isle past cam.	M MrsB+P		Shop
10	ML of G as she walks to the left of N.	N+G+J		Shop	As they hear the noise, N moves and we see J leave.
11	Similar to shot 3 but with N blocking door.	N+G+J		Shop
1	N walking towards cam at 30* of him. ML-MS	N		Stradbrook
2	N's POV G waving across the street.	G		Stradbrook
3	CU of N smiling back.	N		Stradbrook
4	POV from dog looking at N.	N		Stradbrook

First meeting with Annie.

Today we spoke with Annie, who developed the project with Alex in scriptwriting and has a good grasp of the concept. We got her up to speed on our pre production and I spoke a little about the changes in colour I have planned. Principally not using the blue, she agreed that a warmer look would work better. She also had a look at our preliminary schedule for when we plan on getting each stage of pre production complete and she was happy to see the plan.

Tykes 2000, Auditions and meetings.

We have spent the last few weeks starting to gather the actors and getting a final script. I think its gone really well so far and I can start a lot of my work soon. We are currently discussing locations and will be reccie ing some places soon. We have found half of our actors thanks to Dan, who has connections with the acting agency Tykes 2000. We have also got a rough working schedule for pre, production and post.

Paper Chase. Pre Production begins.

With Morning Glory finished we have begun work on our next project. Our first objectives are to nail the script down and to find actors and actresses. We will use the star of Morning Glory again but will change the rest of the cast.

For me the pre production will be a busy time, with two projects on at once I am working on two sets of pre production so that I can focus on just shooting in the two separate shooting weeks. I wasn't particularly happy with the camera work on Morning Glory and I think that a lot of the problems can be fixed simply with better planning and scheduling.